Michael Phillips
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For 1,507 reviews, this critic has graded:
  • 58% higher than the average critic
  • 2% same as the average critic
  • 40% lower than the average critic
On average, this critic grades 4.9 points higher than other critics. (0-100 point scale)

Michael Phillips' Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Sugar
Lowest review score: 0 I Hope They Serve Beer in Hell
Score distribution:
1,507 movie reviews
    • 86 Metascore
    • 100 Michael Phillips
    The cave exists to provoke awe in mere mortals. The camera pauses at one point to take in a stalagmite reaching up to touch, nearly, a stalactite and the inevitable association is with Michelangelo's Adam and the hand of God.
    • 87 Metascore
    • 100 Michael Phillips
    Moneyball is the perfect sports movie for these cash-strapped times of efficiency maximization.
    • 86 Metascore
    • 100 Michael Phillips
    It blends cinematic Americana with something grubbier and more interesting than Americana, and it does not look, act or behave like the usual perception of a Spielberg epic. It is smaller and quieter than that.
    • 87 Metascore
    • 100 Michael Phillips
    The characters in Gomorrah may lack an extra dramatic dimension: Garrone errs, if anything, on the side of detachment. Yet that detachment is also the key to the film's success. There's so little hooey and melodramatic head-banging here.
    • 71 Metascore
    • 100 Michael Phillips
    The self-taught man behind the griddle, his wife, Eve, and their five seen-it-all kids emerge as the ensemble of the year.
    • 89 Metascore
    • 100 Michael Phillips
    May be the best and saddest film of the year so far.
    • 76 Metascore
    • 100 Michael Phillips
    Extraordinary.
    • 82 Metascore
    • 100 Michael Phillips
    The wondrous cinematography is by Gokhan Tiryaki. It is not an easy picture. Not many masterpieces are.
    • 84 Metascore
    • 100 Michael Phillips
    It works from a specific place and lets audiences relate to that place, and the people in it, like trusted intimates.
    • 82 Metascore
    • 100 Michael Phillips
    This is one of the real finds of 2008.
    • 86 Metascore
    • 100 Michael Phillips
    A gem made by a filmmaker who loves life, and knows how to capture its ebb and flow and sweet complication.
    • 81 Metascore
    • 100 Michael Phillips
    No
    No succeeds, wonderfully, because it knows how to sell itself. It is cool, witty, technically dazzling in a low-key and convincing way.
    • 92 Metascore
    • 100 Michael Phillips
    Day-Lewis... the role of a lifetime.
    • 79 Metascore
    • 100 Michael Phillips
    A kinetic delight, Reprise comes from director Joachim Trier, born in Denmark but raised in Oslo, Norway, and it’s a highlight of the filmgoing year so far.
    • 86 Metascore
    • 100 Michael Phillips
    "All right" doesn't begin to describe it. The Kids Are All Right is wonderful. Here is a film that respects and enjoys all of its characters, the give-and-take and recklessness and wisdom of any functioning family unit, conventional or un-.
    • 91 Metascore
    • 100 Michael Phillips
    This is a great and necessary document in support of a two-state solution. Even those who don't believe in such a solution may find their minds changed by The Gatekeepers.
    • 89 Metascore
    • 100 Michael Phillips
    The word masterpiece costs nothing to write and means less than nothing in an age when every third picture and each new Clint Eastwood project is proclaimed as such. After two viewings, however, Letters From Iwo Jima strikes me as the peak achievement in Eastwood's hallowed career.
    • 80 Metascore
    • 100 Michael Phillips
    Extremely moving, exceedingly droll, flawlessly voice-acted.
    • 96 Metascore
    • 100 Michael Phillips
    Its sense of humor is more sly, more sophisticated and more interesting than most PG-13 or R-rated comedies at the moment. The film may be animated, and largely taken up with rats, but its pulse is gratifyingly human.
    • 82 Metascore
    • 100 Michael Phillips
    This one slice of the American experience amounts to one of the best films of the year.
    • 87 Metascore
    • 100 Michael Phillips
    I love it, not simply because I love Chekhov or because I've loved so much of Ceylan's earlier work. I love it because the director, having come into his own as a master international filmmaker years ago, gives us so much to see and think about, so many astringent observations about life's compromises and longings.
    • 94 Metascore
    • 100 Michael Phillips
    While I may argue with the little guy's taste in musicals, it's remarkable to see any film, in any genre, blend honest sentiment with genuine wit and a visual landscape unlike any other.
    • 95 Metascore
    • 100 Michael Phillips
    The film is a singular achievement, a piece of realist cinema with the pull of a suspense thriller.
    • 80 Metascore
    • 100 Michael Phillips
    An indelible portrait of an American family at its most blithely macabre.
    • 82 Metascore
    • 100 Michael Phillips
    Sensational, grandly sinister and not for the kids, The Dark Knight elevates pulp to a very high level.
    • 89 Metascore
    • 100 Michael Phillips
    Borat is a rarity: a comedy whose middle name is danger, or as the Kazakhs say, kauwip-kater.
    • 79 Metascore
    • 88 Michael Phillips
    An off-center but exceptional boxing film I prefer in every aspect, especially one: It feels like it comes from real life as well as the movies.
    • 82 Metascore
    • 88 Michael Phillips
    Haneke’s vision is gripping. The craftsmanship, classically shaped narrative and icy visual beauty cannot be denied.
    • 82 Metascore
    • 88 Michael Phillips
    It's a lot. But if you're at all inclined, it's just right.
    • 55 Metascore
    • 88 Michael Phillips
    Young Goethe in Love wants only to engage an audience with a capital-R Romantic ideal of Goethe's first love. It does so very well. And it was well worth the effort.

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